A self-taught DJ, producer and promoter, uncompromising warrior of the underground, Andrew Red Hand has always tried to avoid the obvious trends and hype, an attitude that made none other than Aaron-Carl name him ''the romanian Underground Resistance himself''.From playing with the reel to reel tape recorder as a child, to trying to ''mix'' using the pause button of his first twin tape cassette player, to the first professional dj gear ... he knew exactly what his main passion was : music. Being exposed to a lot of music genres over the years, he has discovered in the early 90's the sound of Chicago house and Detroit techno which caught his attention : '' It was something very different and intelligent than all the electronic music that I heard and still maintaining the emotion that I was used to feel in the music I grew up with. I found myself into that .''
Deeply inspired by Underground Resistance, he had the honor of finally meeting them in 2008, a night he remembers as '' the greatest and the most inspiring experience.''
Born in Iasi, second largest city in Romania, he's one of the first generation of djs in town and he was there at the beginning of the underground scene in 1997 at Vip club, one of the very few clubs in the country that promoted electronic music at that time, where he learned the art of mixing and played occasionally. In the years that followed he and the main local djs have supported the underground movement in clubs such as 39 and Karaoke.
In 2002 he made the first ever broadcasted, live techno mix at a local radio. In 2003 he started to organize the first weekly techno parties in town, at the best local club XS, where he got a residence and opened a new era in the local underground scene under the ''Saund Engineerz'' party brand. In the following years he organized countless events with guests across the country in different clubs, such as club Imperium where he got a residence, fighting with the power of sound against the new trends that flooded Romania. In 2007 he joined the 8311 Music label with a techno remix of the bulgarian techno pioneer DeepImpulser; in the same year he made the first indoor techno live-act event in his town, the 8311 Music Label Night. In 2009 Andrew Red Hand had the honor to get signed to one of Detroit's legendary label, DJ Godfather's Twilight 76 Records, where he released the electro/techno bass EP '' Iasi To Detroit '' and became the first and still the only one romanian producer who got signed to a label straight from the techno capital of the world. In 2010 he joined Body Mechanic's Detroit Techno Records, his live made acid-electro/techno remix of DJ Spade:Tha Specialist '' This Illuminati '' was included on the '' Illuminati '' project alongside artists from The Motor City such as: Ray 7 (UR,Los Hermanos...), Body Mechanic, DJ Spade:Tha Specialist, Lego The Cook, Gogeta, 207737 and Gt.
Nicola Belligoli borns in Mantova in 1986. His name MTD derive from the words "method", as he wants to express with the style of one's own, his music method, his idea of techno. Constantly researching new sonorities to integrate in his productions and always devoted to experimental world. His "career" is marked to the launch of the label "Sonntag Morgen" together with Tracy (partner and friend since the youth), that permit him to introduce his music in the techno scene, in Italy and foreign. In reality, he starts some years before, with dates in his city and in some club of north Italy. Immediately after, he approaches with programs and instrumentations that join him in the productions world. Another important step was the inclusion of "Sonntag Morgen" in a label management that nowadays boasts notable consideration in the european techno scene, K1971. His production are rigorously techno, with dub, experimental and dark influences. His dj set is composed by four channel mixing, sometimes by loops
integrated with additional sounds with Maschine, so that he can further on personalize it every time. Although he is in favour of digital world, one of his biggest passions is and always will be the vinyl. In fact, still now his vinyls collection is increasing. At the moment, MTD is collaborating with a lot of labels well-known in the european techno scene.
Ritzi’s style of spinning and choice of records has a wide range. He likes to play funky techno but he has no problem whatsoever with putting the needle on deep, harsh and dark records. Whether he is scheduled as opener, primetime or closer of the night makes no difference either, his versatility makes him as complete as they come. fluently mixing downtempo records or rocking the working tools that only work when handled by a DJ with turntable skills makes no difference to Ritzi, he loves it all just the same.
After four years of producing the Underground Liberation label came to live with the release of the bitter Sweet EP, worldwide distributed with help of Jamie bissmire, who took care of some tracks himself. In the past year several tracks from Ritzi appeared on top 10 charts of artists in the likes of Dave Clarke, ben Sims, Oscar Mulero, Luke Slater, and are played on many impressive festivals around the globe. Ritzi also remixed several tracks from legends like Orlando Voorn and Juan Atkins. After years Underground Liberation is still growing with already 12 releases on the catalogue. A new chapter in his musical career will be written. It is obvious, if you try hard enough, eventually you will succeed!
Birmingham techno artist Anthony Child has rapidly built a solid and, to a certain extent, innovative catalog of minimal dancefloor techno since his Surgeon releases began appearing in 1991. Compared favorably with Detroit original Jeff Mills from his earliest Downwards singles on forward, Child's tracks have been a mainstay in the popular Motor City DJ's sets. Although Surgeon releases have worked an increasing affectation for acid and trance, an economy of sound and basic hardness combine his and Mills' sound.
A noted and increasingly popular DJ himself, Child grokked his skills from hip-hop and electro jocks ("Tour de France" is a mainstay of his DJ sets), filling out his style with a driving toughness and appreciation for rapid cutting and flipping. Surgeon's entry into production was also noteworthy; urged on by producer Mick Harris (Child is a fan of Harris' Scorn project), the former Napalm Death drummer locked Child in his tiny studio, imploring him to "go mad." The result, the self-titled debut EP, was released on Downwards, and was instantly hailed as some of the highest quality U.K. techno of its time. Releases for Soma, Blueprint, Ideal Trax, and the ultra-exclusive Tresor label followed, with the debut LP, Basic Tonal Vocabulary, appearing on Tresor in 1997. Balance followed in 1998, as did Force & Form in 1999.
More recent additions to his repertoire include releases on his Counterbalance imprint as well as collaborations with Regis as British Murder Boys, resulting in tracks which take a tone far darker, denser, and more industrial than those from his Tresor years.
Equally influenced by early electro-pop innovators like Tomita and YMO, experimental groups like Can, Faust, and Suicide, and the tough grit of American electro and techno (Robert Hood, Hashim), Surgeon's mash-up is both straightforward and subtly experimental. Further influences from Coil, Psychic TV, and Whitehouse in recent works and DJ appearences do not go unnoticed.
From early formative days earning his stripes spinning hip hop, house and rave on pirate radio, and at parties around Essex and East London, through the 90’s as an ever more in demand DJ, and on into the new millennium as a label boss, producer and internationally recognised techno legend in his own right, Ben Sims has spent all his conscious life exploring all facets of underground dance music
Throughout that time, the man has honed his reputation as a tight, energetic mixer who skilfully weaves together his own distinctive blend of tough funk and hardgrooves, often using three-deck wizardry and plenty of dexterity. Be it at clubs like Fabric London, Atomic Jam, Berghain, Florida 135, or any number of festivals around the world, Sims’ sets are powerful, memorable, and unique, while constantly pushing the boundaries of a DJ set – utilising a mesmerizing blend of vinyl, CDs, and software.
As well as carving a reputation as one of the world’s leading techno DJs, Ben has curated many of his own revered labels over the years. Chief amongst them is Theory – an imprint this year celebrating it’s 40th release, that counts amongst it’s supporters contemporary connoisseurs like Marcel Dettmann, Ben Klock, and the old guard of Dave Clarke, Robert Hood, Rolando and more - proof, then, that Sims is on the form of his life production wise.
Sims has put his name to more than 50 releases in the last two decades. During those years, there has also been a steady stream of high profile remixes of scene heavyweights, including Jeff Mills, Adam Beyer, Kevin Saunderson and Chris Liebing, on labels du jour like AXIS, KMS, CLR and Drumcode, all of which have won as much critical praise as they have crossover success.
Despite his veteran status in the scene, Sims has always been keen to evolve. Alongside Kirk Degiorgio, he is co-founder & curator of Machine - a clubnight which focuses on new, unreleased, & upfront music; it’s primary home in London, but with editions all across Europe each year. Ben also hosts Sims & Friends events and stages at top clubs and festivals across Europe. Such shows incorporate Killa Productions sets with long time associate Paul Mac and feature regular appearances from like-minded talents such as Surgeon and others.
Zak aka DVS1(devious one), is one of the most prominent figures in the Midwest/US dance music landscape today. A local DJ favorite since the mid nineties, DVS1 continues to move floors with a combination of deep musical knowledge, unparalleled enthusiasm, and a vinyl collection of well over 10,000 records. As a promoter he has been responsible for putting together some of the most memorable lineups and successful events of the past 2 decades, and his advanced understanding of sound design/architecture has built a reputation of unqualified excellence for his promotion company, Hush. Zak’s deep roots and his bold and uncompromising nature have won him great respect as a passionate and outspoken defender and promoter of quality music!
DVS1's range and emotional focus explains why as a DJ, Zak has garnered unique respect locally, around the Midwest and now worldwide. A consummate performer, Zak never maps out his sets ahead of time, opting to craft sets spontaneously from within the context they are intended for. He does this the old-fashioned way—with bags of wax carefully assembled from his massive record collection. This improvisational element makes each of his sets a one-of-a-kind personal expression, never again to be repeated, in which the audience’s mood and energy level always plays a notable role.
As a producer, DVS1 makes music that is simple, effective and captures the feeling of the moment. His first release was charted by almost all of the heavyweights in modern techno and was described as… “stripped down & raw to the bone, the sounds DVS1 creates are that of purism & clarity, everything you need in a techno record is present. Hypnotizing electronic structures, mind bending chords and soul!”
DVS1’s first release, on Ben Klocks label Klockworks (kw05) was released in Early august 2009 and has already been charted by Derrick May, Samuel Sessions, Luke Slater, James Ruskin, Stephan Goldman, Funktion, Dj Deep, Tamo Sumo, Martin Landsky, Efdemin, Dustin Zahn, Dario Zenker, Ryan Elliot, Jonass kopp, Par Grindvik, Marcel Fengler, Kevin Gormann, Tobi Neumann and Ben klock!!. There’s no slowing down with future releases for the Legendary label Transmat (Love Under Pressure EP) and another release on the horizon with Klock.
Born into a family of musicians, he approaches the world of DJing at the age of 13 years and after several years of hard work to define his mixing technique, Dany has playes for first time in a rave in 1992. Dany has gone through many experiences in the Roman scene… Insanity, Arisottontreno, Hypnosis, Bresaola, Kill the Rose, Global Event...
In 2006, dany plays as warm up for Lory D every saturday night, stay on safe keep moving around the Roman underground scene in subsequent years. Only in 2010 began collaborating with various labels: Submoover Records, Luminar Records for last Trivmvirate Records under the pseudonym Alchemist.
"As I'm assuming is the case for most music fans, I often find myself fluctuating between moments of admiration and slight frustration with the state of new music. Admiration at new sounds I hear then, at times, frustration that sounds I want to hear aren't available. This unavailability can be due to stagnation within particular scenes or scenes just simply heading in different directions to what I'd prefer. That doesn't mean that the available music is substandard... nor does it mean I'm left bitter or unhappy either. Far from it, actually. However, it does often lead me to explore music from the past in an attempt to envision what these non-existent futures would sound like. This is a process I've done several times in the past and I often end this process by creating a "discofuture" mix in an attempt to create this imagined future... to have the past masquerading as the future. These mixes have been made for personal use in the past but Blowing Up the Workshop has been kind enough to let me share this one with you. I hope you enjoy it." Dave the silent ssg
Legowelt aka Danny Wolfers is a Dutch electronic musician who describes his musical style as "a hybrid form of slam jack combined with deep Chicago house, romantic ghetto technofunk and EuroHorror Soundtrack." Already a few years in the business Legowelt has released a dozen or so projects on various formats, most of them on vinyl released on Bunker records, an electronic music label based in The Hague. He has had some mainstream exposure with 'Disco Rout', originally released on a Ghostly International compilation but licensed by Cocoon Recordings for a full vinyl release, and subsequently voted track of the year 2002 by the German music magazine, Groove. Legowelt began producing music when in the early 1990s after he came in contact with the sounds of Detroit's Underground Resistance, Model 500, Blake Baxter (probably his all-time favourite producer) and Chicago heroes such as Farley Jackmaster Funk, Armando Gallop and Mr. Fingers. Later on this palette of influences grew with early µ-Ziq, Aphex Twin, Drexciya, various releases from the Irdial Discs label. In 1998 Bunker released Legowelt's first vinyl album, Pimpshifter, a 6-track which became an instant cult hit with tracks such as "Sturmvogel" and "Total Pussy Control". Apart from producing, Legowelt has been playing live all over the world for the last 5 years. A lot of time together with Orgue Electronique and the infamous Bunker Team. Some aliases and side-projects he has are Catnip (with Luke Eargoggle), The Chicago Shags (with Orgue Electronique), Gladio, Smackos, Smackulator (with Speculator), Squadra Blanco, Salamandos, Raheem Hershel and Venom 18. Most music of Danny Wolfers is published by Clone Publishing from Rotterdam. Clone also co-released Legowelt's greatest hits album together with Bunker records. In 2006 Legowelt started his own label called Strange life records.
Unborn Gear is an experimental techno concept duo composed by Husky and Esmè.
Carlo Bruni aka Husky is an audio engineer degreeded at SAE Institute Milan in 2008. His passion for electronic music starts from early '90 with the british electronic movement headed by The Prodigy. He starts to approach producing electronic with digital instruments with his friend Danfunk in 2005, and starts studying Audio engineering in Milan. Now he works in music Engineering in a local recording studio and also as audio technician in cinema sets, documentaries, form productions and shootings to mixing, sound designing, and making of video soundtracks with the Green Light Studio video productions.
Esmè is the brainchild of Anna Fadda, who wanted to condense more than 10 years of clubbing his musical passions through the invention of a musically eclectic character which expresses itself as one of the few female DJ in Puglia. Mixer, vinyl and a selection of music ranging from house underground old school 90s to the modern techno sound that evolves continuously. Constant research and evolution, makes his artistic figure to always' avant-garde in his performances in clubs in Puglia, warehouse party and after party.
Stacey Pullen is the Kosmik Messenger. An innovator from the Second Wave of Detroit techno, he grew up under the mentorship of Detroit's legendary three: Derrick May, Juan Atkins and Kevin Saunderson. Still continuing to produce his characteristic atmosphere laden electronic sound, Stacey Pullen compounds his reputation as a producer with that of being one of the world's most in demand DJs, playing weekly across the globe year in, year out. With a font of passion for music and performance that never dries up, Stacey Pullen still plays every gig from the heart seeking to surprise and engage, to provide an unforgettable experience, to offer up his unique catalogue without predictability - defying expectation. Above all, from his earliest attempts to the current day Stacey Pullen has stayed true to his one goal: to become and to always be an Innovator.
His first DJing gig came in May 1985. It was also his first high school party and his first ever drink of beer. Stacey doesn't remember much about the music, but he certainly does remember the experience: “It was that gig that let me know how tough it was to be a DJ. We set up the whole thing, brought the sound system, rented the hall, loaded in, loaded out and went home with 20 bucks a piece in our pocket. But it was more than money, to have that outlet - to have that power and make people respond to the music that we played.”
Almost living at the Music Institute, Stacey quickly got to know the leading lights of Detroit's underground: Alton Miller, Chez Damier, Derrick May. Alton was living in the same building as the club, and showed Stacey a lot of the background activity, including watching Derrick May making his tapes for his weekly radio show. Stacey approached Derrick, and told him that he made music - Derrick invited him to play some to him. From here, Stacey started hanging out at the Transmat studios and became friends with Jay Denham, who was recording on Transmat sub label Fragile as 'Fade to Black'. Jay was the main studio engineer for Transmat, and had full access while Derrick May was away. Stacey watched Jay work, and absorbed a lot of knowledge. Stacey started putting more sophisticated beats together, making his first real tracks. He played some to Derrick who told him “ it's cool but you need to work harder”. This pushed Stacey to become more thorough, to understand music better.
Sgobba Giacomo aka JEMB aka Ash Istr starts his experience as a DJ in Bologna in the early 90's through the radio experience of 'K Centrale Radio' and format KONTAINER (http://www.radioforpeace.info/kontainer.htm)
The radio becomes an important professional experience for JemB, where he matures and refines his djing technique . The radio also became an important meeting point where JEMB can deal with a lot of djs, producers, promoters and where important collaborations and friendships were born.
Jemb gained his experience working together with labels such as Mixtophonico lab, [LED] Link Electronic Department, Italian Bassline rec., Afun rec and Tz records. He also shared the microphone with the Unzip Project (shape / Cocoricò club) and who will also attend the Street Rave in 2003 in Bologna. Thanks to these strong relationships, JEMB brings in the studios of 'K Centrale Radio' International Djs such as Norm Talley (Beatdownsound rec.), Khan (matador rec - playhouse rec.), Daniel Meteo (Meteo Sound), dj K Rock (Rephlex rec), Vladimir Ivkovic (Important rec), Amon Tobin (ninja tune), dj Food(ninja tune), Bad Company( B.C. Rec), Usual Suspect feat Mc.Verse (Hardware Renegade rec.), Cause 4 Concerne (C4C rec), Danilo Vigorito (orion), Wang Inc (sonig rec), Panacea (position Crome rec.) just to mention some. In addition to to these experience, Jemb worked closely with the LINK (http://www.link.bo.it/), historical multicultural center of Bologna, where he enriched his musical training. Encouraged by Mauro Borella (H_uge), jemb in collaboration with Alessandro Merola(IRMA records), gave birth to the COOLER project. After this experiences, Jemb returns to his hometown, and thanks to the friendship of Vito Arpino (Arpino) and fabrizio Ippolito aka Doraemon, JEMB joins the collaborative project LAB080, active in the production of events and communication and dissemination of cross-cultural scene in South Italy.
Today JEMB,in collaboration with Gennaro Tosto aka Vonboot, works at the blog "Svarioni Premeditati”, a Bari/Italy based blog. Together they share their point of view about electronic music plugging mixes, livesets, podcasts and radioshows.
Iniziamo questa intervista con alcune delle figure che, a nostro avviso, hanno maggiormente ha influenzato la scena elettronica mondiale; la prima è James Stinson; hai avuto l’opportunità di conoscerlo…. raccontaci come hai vissuto quell’incontro e il quanto le produzioni dei Drexciya abbiano influenzato la tua visione…
James Stinton (Drecixya) è sempre stato presente nella mia flycase, continuo a nutrire grande rispetto… uno stile particolare e ben definito che arriva da un lungo percorso di sperimentazione e passione per questa musica. Ho avuto il piacere di incontrarlo più di una volta nelle mie gig, ma ricordo una serata qui al Vecchio Mattatoio di Roma indimenticabile…. James Stinton è sempre stato fonte di grande ispirazione per me come lo sono stati anche i Tangerine Dream ,John Coltrane, Miles Davis, Coil, ecc…
La seconda è Richard D James ovvero Aphex Twin, ma in questo caso è stato lui a venirti incontro….
Nel 1993 ho incontrato Richard D James al vecchio Rage di Londra, dove mi propose di pubblicare un progetto per la sua etichetta, la Rephlex Records. Fu così che iniziai a lavorare su il progetto - Void - dove ho provato a concentrare tutta la mia esperienza creando ambienti sonori inesplorati, andando nel subconscio, perché è questo che mi piace fare, dare sfogo all'immaginazione di tutte quelle persone disposte a comprendere.
Il tuo terzo album – Void - pubblicato per la Rephlex è un album ambient meravigliosamente algido * psichedelico * astratto [quattro>movimenti-Evocation > Void > Paragone > Evidenze] 11 tracce lisergiche che si chiudono con un silenzio di 3,03 minuti sul quale si è dibattuto e scritto a lungo, tirando in ballo anche John Cage. Untitled (b2) è una installazione sonora in cui il non suono diviene una percezione tattile della 303 ?
La traccia in questione riprende il titolo dell'album Void o vero spazio vuoto forse un modo per riflettere …..musica priva di musica ..
Sin dai primi anni 90 hai suonato e prodotto usando campionatori, tastiere, 303, 909… e continui a farlo, ma sei stato anche uno dei primi a lavorare con i sequencer digitali su Commodore e Atari. Come è stato il tuo approccio al digitale in quegli anni di sperimentazione ?
Ho acquistato il mio primo campionatore nel 1989, un Roland s 50 con 2 mega byte di ram; ricordo le difficoltà' per riuscire a suonarci come volevo perché era concepito per un altro tipo di uso… alla fine mi inventai un modo per piegarlo ai miei voleri. Ricordo bene quando acquistai il mio primo computer Commodore Vic20 per poi passare al Commodore 64, una tecnologia giovane e dalle scarsissime risorse hardware che mi consenti comunque di portare avanti le prime sperimentazioni sul beat; Anche con il mio primo Atari 1040 st, molto più dinamico e affidabile, si potevano solo scrivere gli arrangiamenti; la vera rivoluzione arrivò con l’Atari Falcon, dotato di scheda audio digitale ovvero l'avvento del Audio Recording. Devo dire che appena misi mano su questa tecnologia l'impatto non fu dei migliori in quanto il suono non era caldo ma piuttosto freddo, asciutto, troppo digitalizzato, così continuavo ad usare fondamentalmente la mia piattaforma analogica. Negli anni successivi ho provato tutte le piattaforme digitale esistenti a partire da Pro Tools e Apogee. Mi sono dedicato allo studio della sintesi analogica modulare grazie al Roland System 100 M, un synth che mi ha permesso di creare qualsiasi tipo di suono dalla KIK, a linee di basso molto personali e fu per me un illuminazione. Iniziai ad ampliare la mia collezione di Drum Machine come le Roland TR 606, 707, 808, 909, 727, Akai , Pearl Drum , Visco Space, fino alla scolperta del Syntex (Elka) una sorta di Moog concepito in Italia, sino ai primi ibridi digitale/analogico come il Roland JD 800. Oggi continuo ad usare le stesse macchine che avevo prima abbinato alla tecnologia digitale moderna e devo dire sono molto soddisfatto.
Rimando in tema, il digitale, inteso sia come software che come supporto, ha consentito a tantissime persone un approccio semplificato all’arte del djing e più in generale fa favorito una iperproduzione di musica elettronica nonchè la nascita di tante nuove etichette (forse troppe); come conseguenza (non gradita) ha portato con se la polverizzazione del mercato discografico e una sostanziale penalizzazione delle produzioni di qualità. Quale è il tuo punto di vista sia come artista che come label manager ?
Su questo tema c'è molto da dire, proverò' ad essere sintetico. Non sono contro i software moderni ma contro il sistema che gli è stato creato intorno. Sono ancora oggi un grande amante del vinile, ma non disdegno tutti gli altri tipi di piattaforme per il djing come :Serato, Traktor, Ableton.
Certo se un ragazzo oggi inizia la sua carriera senza passare per l'arte del missaggio ovvero la capacità di saper sincronizzare il beat, questo non va bene perché prima di affidarsi all'auto sync bisogna avere una profonda conoscenza o esperienza sull’arte del djing. Devo dirti che questi software sono di grande utilità, ma dipende sempre dall’uso che se ne fa. Io ho suonato più' di una volta con Traktor, ma usando 4 decks, con solo loop di 2 secondi o 3 al massimo, ed il risultato è eccellente perché mi da la possibilità' di improvvisare continuamente e rendere quindi le tracce irriconoscibili, grazie anche all'uso degli ottimi effetti in dotazione. Se invece Traktor viene usato solo per suonare una traccia insieme ad un’altra, come emulazione del vinile, bè allora non rimane molto da fare, una volta spinto il play e avviato il mix….
Il top per me è Serato perché la tecnica rimane quella di una volta, senza auto sync o altro tipo di aiuto dal software e devo dire che il feeling e stupendo. Ricordo poco prima della nascita di questi software e shop digitali gli artisti, su i cataloghi, erano molto meno e tutti piuttosto bravi perché la produzione di un lavoro aveva un costo non indifferente e quindi prima di produrre un individuo bisognava accertarsi del talento… oggi tutto questo non c'è più e ci ritroviamo in un mare di dj e un oceano di label… ognuno ha il suo perché? C'è qualcuno che ci ha meditato sopra… a partire da Beatport coinvolgendo quasi tutti in questo caos che è diventato il mercato delle produzioni musicali.
Tutti oggi possono vivere il proprio sogno da produttori di musica elettronica e i gli shop digitali lavorano e ingrassano i propri conti in banca con la politica dei grandi numeri. Chiunque può vendere la propria musica a prescindere dal valore. “Tu” con il tuo prodotto scarso valore, vendi pochissime copie e non porti a casa soldi, “loro” portano a casa una percentuale, contando su milioni di “tu” senza futuro…. E’ una politica del fare soldi e basta portata aventi anche da dj di fama mondiale, che conosco personalmente, che si “nascondono”, lavorando per alimentare questo sistema. Ecco svelato l’algoritmo perfetto per fare soldi. Io ho grandi difficoltà quando mi trovo davanti tutte queste label, non ci si capisce più' nulla… vorrei anche comprare un po' di musica digitale ma alla fine ritorno sempre al mio amato vinile. Anche il mercato del vinile discografico ormai è in decadenza, la tiratura massima di copie si aggira intorno alle 300 unità. Se penso al passato mi vien da ridere, vendere 300 copie prima era un fallimento, non un successo e così anche i dischi più belli passano in secondo piano. Bisogna dire che con l'arrivo della rete internet oggi si può costruire una carriera senza averne una veramente… è possibile creare una pagina come artista su facebook e comprare migliaia di likes al prezzo di un euro o peggio sul nostro amato Soundcloud è possibile comprare i play e i commenti… devo dire che si nota subito, anche quando etichette di nota fama, lo fanno per avere più facilmente visibilità. Io parlo per esperienza diretta perché più' di una volta o ricevuto emails fraudolente da questi portali .Prima di tutto io sono un audiofilo amante della musica e dopo sono l'artista e tutto ciò' non è accettabile.
Sempre nei primi metà degli anni novanta hai vissuto fondamentalmente all’estero; Londra e soprattutto Berlino; quanto sono state importanti queste esperienze nella tua formazione tecnica ?
Devo dire che amo viaggiare ed ho avuto la fortuna di realizzare dischi che da subito mi hanno proiettato nella scena mondiale ed infatti già a 19 anni avevo fatto un bel giro dell’Europa. Non credo comunque che abbia giovato alla mia creatività. La creatività è una dote che una persona ha dentro e non importa se si vive a Berlino,Londra o in Olanda; io credo non faccia alcuna differenza per la carriera di un artista. Quando andai a vivere a Berlino, fu per amore non per la carriera; oggi tutti si stanno stabilendo li' credendo di poter far qualcosa ma io ribadisco che 'e il talento che conta e basta.
Veniamo alla città di Roma. Una città, soprattutto nei primi anni 90, balcanizzata; conflitti fra quartieri, opposte tifoserie e opposte “fazioni” politiche che definivano non solo gli spazi, ma anche le relazioni; eppure tu e un manipolo di producers eccezionali, fra i quali, oltre te menziono solamente alcuni fra i più rappresentativi quali Lory D, Max Durante (che abbiamo avuto il piacere di ospitare nel nostro podcast series il mese scorso), Eugenio Vatta, Andrea Benedetti e i fratelli Marco e Fabrizio D’Arcangelo riusciste a fondare, nelle reciproche differenze un movimento che definì il Suono di Roma. Sei d’accordo con il mettere la Scena di Roma sullo stesso piano della Scena di Detroit ?
Io credo che si possa parlare del Suono di Roma come si possa parlare del Suono di Detroit che esiste ed è vivo. C'è qualcuno che ancora oggi si spaccia per il fondatore (del Suono di Roma) ma senza fare polemiche, io non mi ricordo durante tutte le nottate passate con Lory D,Eugenio Vatta,Andrea Bendetti di questa o queste persone anche perché, ne negli anni 90 questi individui o individuo venivano a sentirci suonare oppure a ballare e successivamente si sono appropriati di questo, come slogan - The sound Of Rome - Io direi, fate vostro ciò' che è vostro… basta prendersi i meriti degli altri e non basta vivere a Berlino e pubblicare biografie con meriti che non sono propri… siamo nel 2013 e parlate di quello che avete fatto… Io personalmente ho venduto più' di 30.000 copie di vinili. La storia parla da se, quindi, basta. Grande rispetto per i fratelli D'arcangelo ovviamente la mia discussione non si riferiva a loro.
Per buona parte degli anni 90, sulle riviste mainstream si è parlato di musica techno solo in termini di, musica di “destra”, soprattutto per la presenza di naziskin nei rave romani e comunque priva di contenuti. Verso la metà degli anni 90 i centri sociali e soprattutto a Roma il Forte Prenestino, scoprirono e alimentarono la scena riuscendo a cogliere la carica rivoluzionaria o quantomeno “differente” della musica techno. Quale è la tua opinione al riguardo ?
Roma, era ed è una città molto difficile, divisa in fazioni, tutti contro tutti… ricordo che negli anni 90 la presenza di parecchi nazi ai rave e non mancarono i problemi direi. Preferisco ricordare la bellissima gente che ballava e comprendeva perfettamente quello che stava accadendo in mezzo a tante mele marce.
Nelle tue produzioni passi dall’ambient alla techno, dalla jungle, all’acid, all’Industrial senza che si possa avvertire il benché minimo segno di incertezza. Che musica ascoltavi da ragazzo ? Ricordi il primo vinile che hai acquistato ?
Per me, la musica è tutto e non un solo genere. Sono un percussionista, arte appresa da mio padre e quindi adoro il break beat pattern, differenti, consecutivi e tutto ciò che mi fa muovere la testa in fase di creatività, quindi che sia techno o altro per me, non fa differenza è il groove che conta…..
Alcune tue produzioni come Full Immersion e Nothing Has Changed, entrambe del 1993, mi fanno venire in mente una parola: Jazz…
Si, il jazz lo adoro, sopratutto le produzioni più psichedeliche di Miles Davis, come Bitches Brew e anche tutte le ultime produzione di John Coltrane che realizzò' insieme alla moglie Alice Coltrane, ne cito uno in particolare, Infinity…
Dopo anni di assenza dalla scena, nel 2009 hai fondato la Cannibald Records, alimentando la scena techno nazionale con produzioni eccellenti sia in vinile che in digitale. In tutta franchezza, ci stai dentro con le spese ?
Come ti ho detto prima, ormai il mercato discografico è quasi morto o comunque in una fase di forte decadenza… quindi entra in gioco solo la passione e il cuore….
Ti lasciamo con l’immancabile domanda su i progetti futuri di Leo Anibaldi e della Cannibald Record?
Ho molte release in uscita e vi posso anticipare qualche nome, ovvero The Advent, Orlando Voorn (Format #1) (The nighttripper), Adam X, Claudio P.R.C., Ness, Donato Dozzy, Giorgio Gigli, Dino Sabatini, Light & Shperes (Gianluca Meloni e Francesco Cianella).
With great pride and immense pleasure, finally we have with us one of the few real talented and gifted producers in the Italian electronic scene; founder, along with Lory D, of the Sound of Rome, Leo Anibaldi is one of the best interpreters of the underground world scene.
For our podcast series Leo give us a liveset recordered at Core Techno [15.02.2013]
Born in 1972, Leo Anibaldi discovers his passion for electronic music at the age of 15. Thanks to the advent of early personal computers such as the Commodore Vic 20 and 64, he begins to create his first loops. After one year, Anibaldi starts to play in clubs under the pseudonym DJ Mc, when it was impossibile to find any trace of electronic beat in Rome. He became an enthusiastic analog synth collector and he decided to spend his daily life on the creation of beats and grooves. In 1990, Anibaldi begins his recordings career at ACV Records, where he will make more than 20 albums such as: Attack Random, Riders of the Future, Noise Generation, Muta, Cannibald and Aeon. In 1991, Anibaldi meets Lory D, and from a small garage located in the north of Rome, they start the alternative music movement soon known as The Sound of Rome, which spread techno music in Rome and the whole of Italy. In those years, Anibaldi concentrated in bringing his analog live set around the world, appearing at large events such as one of the first Love Parade editions in Berlin. In 1995, he decides to sever ties with ACV Records and moves to Rephlex, which released the album Void. 2008. Cannibald records was born, Leo’s personal record label and he is back with a new Ep and two albums, Leo Anibaldi's Classics '90-'95 (2009) and 2000 Cuts (2010). Cannibald records is the sublimation of twenty years of experience in the world of electronic music by a veteran dj/producer. Cannibald Records is devoted to the search and experimentation of new sounds and original grooves,in order to offer an always actual and timeless sound: from freaky house to weird electronica to the darkest techno tunes.
nAX_acid aka Andrea Ruffino, born in 1982, started playing electronic music when he was 17, after hearing classic early Aphex Twin albums. Since then he started collecting vinyl and playing every kind of electronic music from hardcore to electro, from drum & bass to techno. In 2004 he started making deep minimal, acid and Detroit techno influenced tracks. In 2005 moved to London from his native Italy and started to work for ‘disappear here’ record label (Kompakt) started by Chris Spero and Antony Sergeant. His first release in December 2006, “Friends & Crocodiles” which was well received on the underground London techno scene. Since 2007 he has started to put together his own label project called Aconito Records. "The label is a sonic experiment with techno, minimal and with ambient and electronica, to create a new atmospheric techno voyage, which also works on the dance floor". After 3 years of studies and researches, finally graduated in Sonic Arts at Middlesex University, he keep researching and evolving his sound both as a producer and artist, introducing new sonic aspect in his music and performances.
Los Hermanos was originally a collaboration between Gerald Mitchell, Dj Rolando and Mike Banks of Underground Resistance. They raised the standard and destroyed the boundaries between Techno and House by fusing the funk and soul of Detroit Techno with the feel of latin rhythms and melodies after Rolando’s Departure to pursue a solo career, Gerald moved Los Hermanos in a slightly different direction without sacrificing any of the sound individuality or quality. Gerald Mitchell born and raised in Detroit’s West Side is a Musician Producer Dj, Band Leader, and Sonic visionary whose music has made a huge impact on Detroit house and techno. From his early work on Underground Resistance's Interstellar Fugitives (UR 044 aka Soul Saver) project to his Celestial Highways classic on Metroplex and early house productions on Soul City records 1997,1998 distributed by 2030 submerge.
his music has always been recognized by it soulful strength. Gerald’s work with Underground Resistance/ Mike Banks and Dj Rolando led to the anthem 'Knights of the Jaguar; and now he has brought his experience as a live musician into a group that expresses jazz fusion, gospel and funk into stunning electronic music worldwide know as LOS HERMANOS. for discography www.discogs/loshermanos After the release of the album “On Another Level” and international tours as Los Hermanos Live, Gerald has begun his solo career with a new project ready for release late fall 2010
In recent years Donato Dozzy has emerged as one of the leading contemporary techno DJs. He has developed a strong following for his distinctive tripping, hypnotic take on techno music. Ignoring fads and trends, Dozzy's approach to electronic music – both as a DJ and as a producer – is based on a deep understanding of what has come before him. Being introduced to Disco, Italo, Reggae, Dub and other forms of electronic music at an early age, he first began exploring DJ'ing in 1983 under the mentorship of a DJ from Bari, called Maurizio Laurentaci. By the late 1980s he was discovering techno and acid with his friend Leo (now producing house music under the name Lerosa).
Despite his love for electronic music, he continued his studies, eventually graduating from the University of Rome with a Doctorate in Politics. This education, combined with his encyclopedic knowledge of music, later earned him the nickname of "The Professor". In 1999, he began an ongoing residency at the famous Brancaleone club in Rome, where he further honed his skills as a DJ. In 2001, he was as part of the band, The Kitchen Tools, which were signed to Virgin records and had some commercial success in Italy.
This was not enough to satisfy Dozzy, and in 2004 he moved to Berlin. From 2004 to 2006, Dozzy held a residency at Panorama Bar, where extended sets at the end of long nights of partying allowed him to further develop his slow-burning, hypnotic groove.
A watershed moment in his career came in 2007 when he was invited to play at the Labyrinth festival, an outdoor electronic music festival in Japan. While 2007 went well, its main purpose was laying the foundations for his return in 2008, when Dozzy would play the closing set at Labyrinth. It would prove to be a turning point for Dozzy, as he played one of the most memorable sets of techno that had ever been witnessed at the festival. This set went on to be podcasted by mnml.ssgs and Donato's popularlity grew exponentially.
Since then, Dozzy has quickly developed as a producer and a DJ, since playing at many of the most important clubs around the world, such as Berghain and Fabric. He has become popular not only for his DJing, but also because of his distinctive productions: like his sets, they explore the trippier side of acid, techno and ambient. In 2008, after experimenting with his first label (Dozzy Records), he started Aquaplano, a label that has quickly gained a cult following for its limited pressings and high quality mix of ambient and techno. He has released on a wide range of other labels, including: Mental Groove, Curle, Time to Express, Mule, Further, and Prologue.
One of the most important exponent of the rave roman movement in the early 90's: with his radio show and records shop "Virus" and several releases on "ACV Rec." becomes one of the best techno artist in Italy and Europe. Alongside his first album “Rage of Age” 1994 (3rd place on the french and german magazines “Out Soon” and “Frontpage”) produces several remixes for Robert Armani, Dave Clark and Adam X. Collaborates with Sandro Nasonte for Elettronica Romana LTD. and Re-Mix recordshop. Plays in the best italian clubs such as Jaiss, Cellophane, Red Zone, Goa, etc. Attendes historic techno/house festivals like: Evolution 1 (1995), World Dance Convention, Garden of Eden, Metropolis 1 in Switzerland, Arcadia Paris in France, Megarave in Holland, raves and events in Belgium, in the club “MDM” Moscow, Culture Box in Copenhagen and during the “Italian Fashion Fair” in 1996. With his staff was the offical public relator who represents Italy at the “Energy” in Zurich and produces in Rome the one night event “Oxygen”. Resident in the project called “Diabolika Level One” at the club NRG in Ciampino (Rome) and for various years at the “Jaiss” club and the Cosmoproduction events in the “Fortezza da Basso” in Florence. 2010 starts the label "Key Records", partner on "M_Rec LTD" and his artists management"K1971", in terms to discover new talents and support famous artists.
Now based in Berlin where collaborates with Tresor Club for a series of parties to promote his booking agency "Unbroken". Since 2013 is resident techno dj at the event "Homopatik" at ://about blank Club Berlin.
Detroit Techno Militia is a record label and a street level DJ/Producer collective dedicated to preserving the legacy of true Detroit electronic music and its proliferation around the world. They take pride in contributing to a tradition that has deeply inspired electronic music aficionados the world over. Detroit Techno Militia soldiers work to maintain and preserve the significance of techno made in their native city, Detroit, Michigan, USA.
The collective started as a group of like-minded individuals who have similar inspirations and beliefs regarding to Detroit Techno; where it comes from, where it is, and where it is going in the future. There are currently two united factions of elite DJs, Producers, and Live Performers. The DTM Home Team is made up of performers currently residing in the Detroit Metropolitan Area: T.Linder, Darkcube, DJ Seoul, Neil V., DJ Psycho, and Annix. DTM Recon:313 is made up of Techno Militia members residing in locales across the globe: The Mercenary (Belgium), Doc (New York, NY), Loner.9 (Charlotte, NC), Maxx T (France), Dimitri Pike (Germany), and Shawn Rudiman (Pittsburgh, PA).
In early 2007 Detroit Techno Militia formally launched their record label in a partnership with Cratesavers Muzik. After three very successful 12" vinyl EP releases, DTM001, DTM002, and DTM003, they amicably split with Cratesavers and took all of the responsibilities in-house. Their next two 12" vinyl EPs, DTM004, and DTM005 were independently released and distributed. Many of these releases have been charted and played by some of the biggest international names in techno music. DTM's music is regularly featured by legendary DJ, Dave Clarke on his radio show "White Noise" on the Dutch national radio station, 3VOOR12. Today, the Detroit Techno Militia continues to release music on their own vinyl label, their digital label: "DTM Digital", and other internationally distributed record labels.
